On the north-facing wall of Kismet, a multimedia production studio in the Bates-Hendricks neighborhood, is a tribute to graffiti artist Cue. Known as the “Prince of 16th Street,” Cue’s influence on graffiti in Indianapolis can be seen throughout the city. After his death in 2016, local graffiti artists and fellow Cool Boys crew members Mitch, Rich, and Italy created this mural in honor of their friend.

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to After Rome and his other sculptures along the Cultural Trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

Anatomy Vessels (Saplings) is a public sculpture created by Indiana-based artist Eric Nordgulen, Associate Professor of Sculpture at the Herron School of Art and Design. It was selected in 2005 for the Herron Gallery’s first Sculpture Biennial Invitational and exhibited in the Herron Sculpture Gardens. The two-part cast and fabricated bronze sculpture represents two-life size sapling trees with bound root balls. It is part of a series of Anatomy Vessel works by the artist referencing nature, but not intended to be functional.
The sculpture was on extended loan from the artist and was located outside of the north entrance to Eskenazi Hall on the Indiana University-Purdue University Indianapolis (IUPUI) campus. It is now in the artist’s possession.

FAB Crew, comprised of 6Cents and Sacred317, partnered with Chicago street artist Amuse126 to create the Angler Fish mural during the 2015 annual Subsurface Graffiti Expo.
Subsurface is an event that showcases mural and graffiti artists from all over America and beyond. Since 2002, artists have traveled to Indianapolis every Labor Day weekend to create work and build community. Subsurface seeks to advance the art form through beautifying and revitalizing the landscape of the Fountain Square neighborhood specifically. Subsurface also seeks to raise social and cultural awareness and promote the arts as an institution of empowerment for all involved.
The Angler Fish mural is representative of the dynamic colors and design that 6Cents and Sacred317 have created over their 17 years together as a crew. Though both are trained in fine art and commercial design, graffiti art remains the driving force behind their creativity. Amuse126 is also known for his bold, vibrant, and visually intoxicating pieces that often recall traditional elements of graffiti art over his 15 years as an artist.

The West Indianapolis community (Oliver Street to Raymond, White River to Holt Ave) lies “between the rivers” of Eagle Creek and the White River. It is one of the oldest neighborhoods in Indy, with many West Indy families having lived here for multiple generations. In the spring of 2015, eight traffic signal control boxes, created by professional artists from designs voted on by a panel representing both art experts and the neighborhood residents, were painted as part of a Great Indy Cleanup project. Keep Indianapolis Beautiful’s Great Indy Cleanup program helps community groups organize to combat heavy litter and debris that has accumulated in public spaces such as streets, alleys, greenspaces, and waterways. Some cleanup efforts also include new plantings and community murals, all done by neighborhood volunteers. For more information about the Great Indy Cleanup program, visit http://www.kibi.org/programs/beautification/great-indy-cleanup/
On the northwest corner of Morris and Belmont Streets, the artist Tasha Beckwith added street-inspired color to Indianapolis’ Westside. Using a mixture of different blues, greens, and neutral tones she rendered abstracted arrows on this traffic signal box. Unfortunately, this box was hit during a traffic accident in July 2016 and was replaced with a new, unpainted box.

The left half of this mural celebrates the nearby historic campus of Arsenal Technical High School (“Tech”) as the center of the Near Eastside. Many of the campus’ buildings date to the Civil War period, when it was built as an arsenal for the Union army. Converted to a high school in 1912, the campus became host to a comprehensive academic and vocational education program that was also known for strengths in the arts, graduating many famous individuals including jazz musician Freddie Hubbard, artist Robert Indiana (Robert Clark), and U.S. Congressman Andre Carson.
The left half of the mural shows the backdrop of downtown Indianapolis with the Near Eastside and the high school in the foreground, as if it were a field on which several overscaled soccer players contest for a ball. The right half of the mural shows newer Arsenal campus buildings and two students in a science lab with a DNA helix, arranged along a brick path that leads to another image of downtown Indianapolis. Missing panels on the left once continued the images of the Tech campus and the Downtown skyline.
The artist, Indianapolis painter Morris Kurz, chose Tech as the theme in order to inspire local youth to think of the opportunities provided by education as the key to a good life. He depicted the figures as African American and Latinx to indicate that a quality education is accessible to all. The soccer players not only provide a sense of movement to the mural, but were painted as a symbol of beneficial physical activity and the idea that working collaboratively as a team is another way to succeed in life. Originally there was to be text proclaiming “Gateway to the Near Eastside,” but it was never implemented.
Kurz created the mural in 4’ x 8’ sections on cement board in his garage, because the property owner did not want anything permanent on the building. The cement board proved to be too delicate for this type of installation, and periodically would fall off the building. After several replacements, it was decided to leave the installation alone, resulting in an irregular appearance.
Despite a campaign by neighbors to remove and relocate the remaining sections, the mural was destroyed in 2018 when the building to which it was attached was demolished.

Mike Helbing is a Midwestern sculptor who spent his early years and made his early art in Indiana through the 1980s. He taught children’s art classes at the Indianapolis Art League (now the Art Center) before moving to the Chicago area in the late 1980s, where Helbing has since been making large metal sculptures. He’s also currently the curator for Chicago’s National Vietnam Veterans Art Museum. His website is www.mikehelbing.com.
Quoted from indplsartcenter.org/Assets/uploads/Artspark-brochure-2012.pdf

Ascending, along with Serpent and Daughter of the Moon, Nokomis, are from artist Robert Pulley’s large body of work combining references to geology, organic growth, and the human figure in abstract, expressionistic sculptures inspired by nature. Their segmentation, the striation that comes from coil building, and the picked textures create a sense of age and loss that contrasts to their strength and energy.
Robert Pulley is a clay sculptor based in Columbus, Indiana. According to the artist, “I grew up in the American Midwest where frequent solitary walks in the woods and along the creeks and rivers of rural Indiana etched strong impressions into my memory of the varied forms, colors and textures around me. Evidence of the effects of time were everywhere in the rock strata, glacial till, and aboriginal artifacts. I found a sense of wonder that embraced mysteries of nature, of change and of time…In my creative process there is always a time of free improvisation using easily manipulated materials on a small scale. The materials may have qualities of a found object, chance forms that must be reacted to, much as a jazz musician riffs off a casual theme. The resulting models are very crude, casual and many. A chosen few undergo editing, refinement and transformation as they are built into full size sculptures.”

At the Bus Stop, Without Delay was inspired by the artist’s experiences riding the bus to work. Many people overlook bus riders, yet there are communities and neighborhoods of people that live solely by commuting by bus. By showing the near East Side community at the bus stop, it created the most natural setting for a large group of people to mingle below the cityscape.
The artist incorporated little narratives occurring between all of the people featured at the bus stop. The cityscape above shows the Indianapolis skyline flowing out into the houses and landmarks along East 10th Street. The sky even unfolds from dusk to daytime as the mural moves from left to right. All of these nuances make up the mural, and will be there for the many viewers who will see this on a daily basis, as well as the initial impact it will give the first time visitors driving along 10th Street.

Artist Brian Priest’s interest in the areas of natural phenomena and interdisciplinary science have resulted in varied artworks comprised of sound, sculpture, performance and drawing. Often, the artist’s own body is both site and source of his work.
His prior piece Body Zoo resulted from the artist collecting samples of microscopic bacteria from different areas on his body to create a “micro zoo”. Images from Body Zoo were incorporated into Between Two Mirrors. Pictures of bacteria and mold were converted into texture maps to create an image which is both grotesque, compelling, and oddly beautiful. The image is a cluster of unlikely combinations of familiar elements, which exists somewhere between a clinical study, horror movie and architectural model.
Priest shows the human body as a structure that both navigates and contains landscape. Just as billions of humans inhabit the Earth, billions of small creatures thrive on and within us. It is life at different scales.

Bright City is a 12 foot tall polychromatic artwork painted on panel with mirrored strips. This 171 foot long mural is comprised of mirrored stainless steel lined between color fields painted with marine grade acrylic paint. This mural enlivens the sidewalk beneath it with stripes of reflected light.
This mural brings a modern, cheerful, and welcoming tone to its portion of Delaware Street. It connects, literally and figuratively, the contemporary arts sensibility of the Alexander Hotel with the high-spirited activity at Bankers Life Fieldhouse. The mirrored surface reflects the motion of pedestrians, cyclists, and motor vehicles. It reflects the changing light both day and night, and the city skyline as it grows and changes.
As a contrast to the long horizontal wall on which it is mounted, the vertical stripes of Bright City lead the viewer’s eye up. The rhythm of its colors and reflection draw pedestrians along the length of the work. Passing form one end of the mural to the other, the stripes appear as narrow strips gradually expanding into fields of color.
Bright City is designed to be appreciated in transit, from one end to the other, in all types of light and by a wide audience. It is a different artwork depending on where the viewer is positioned, the time of day, and the weather – glinting in the daylight, coolly gleaming on cloudy days, or catching nighttime light from surrounding signage and street lights. Bright City signifies optimism, modernity, and strength – features shared with the city of Indianapolis itself.
Shawn Causey is an Indianapolis-based visual artist and musician with a studio in the Stutz Building. Causey earned degrees in fine arts from Herron School of Art & Design and in music from Butler University. She was assisted on this project by Indianapolis contractor, Mark Daniell.
This artwork was deinstalled in November 2015 to facilitate new construction on the site. It will be relocated to a new site within the CityWay complex in 2017.
Funding for this mural was provided in part by Buckingham Companies and the Arts Council of Indianapolis.

Broken Walrus I, a mild steel sculpture with an orange-red painted matte finish, was an abstracted representation of a single walrus tusk broken into two pieces. Rather than a realistic, round tusk, it had squared edges and exaggerated, squared ends. To portray the sense of brokenness, the work had two pieces: a larger, main tusk and a smaller section resting against it. A black and white photograph of Broken Walrus I appears in the exhibit catalog Gary Freeman: A Decade of Sculpture 1979 to 1989.
From 1975 until it was removed around 2004, Broken Walrus I was located north of New York Street on the IUPUI campus; north of the IUPUI Lecture Hall and west of Joseph T. Taylor Hall (formerly University College) at 815 W. Michigan Street. Artist Brent Gann’s abstract piece, Orange Curves, was installed in the former location of Broken Walrus I. Around 2004 Broken Walrus I was removed and disassembled due to extreme rust. Because it was in great need of repair, IUPUI’s Campus Facility Services approached Valerie Eickmeier, Dean of the Herron School of Art and Design, who contacted Freeman and obtained the artist’s permission to remove and disassemble the sculpture.
Broken Walrus I was displayed outdoors for nearly thirty years, through cycles of harsh, midwestern winters and humid summers, causing the structure to become increasingly corroded until it was more efficient to remove the sculpture rather than repair it.
Note: The hand prints on the sculpture in the image below are not part of the original design.

This bronze cast of a 1965 statue by Rhoda Sherbell was made in 2000. It once stood on the IUPUI campus near the National Art Museum of Sport, but has since been moved to their new location within the Children’s Museum.
The sculpture honors Charles Dillon “Casey” Stengel (1890-1975), the baseball player and manager associated with various pro teams, most famously, the New York Yankees and the New York Mets. His outsize personality often overshadowed the sporting accomplishments of his teams. The inscription on the statue’s plinth reads “DEDICATED TO THE FOUNDER OF THE NATIONAL ART MUSEUM OF SPORT. GERMAIN G GLIDDEN. 1913-1999.”
The National Art Museum of Sport is housed within the Sports Legends Experience at the Children’s Museum. It is no longer free, but may be viewed with general admission to the Museum. NAMOS was founded in 1959 in New York City by Germain G. Glidden (GGG), a portrait artist and champion squash player with a strong belief in sport and art as universal languages understood and appreciated by all people. Its mission is to encourage sport artists in their efforts to create sport art, and to collect, preserve and share the best examples of sport art it can acquire. The museum occasionally assembles exhibitions from its 1000-piece collection and circulates them to other venues for display. For more information, visit http://nationalartmuseumofsport.org/

At the southeast corner of Lilly Science Hall is Brian Ferriby’s painted steel sculpture, Caterpillar. Ferriby, from Berklem, Michigan, uses copper and steel mined in the Upper Peninsula. He employs techniques elemental to the region, from those of the earliest black­smiths to the ironworkers who built fac­tories, skyscrapers, and bridges. “I believe my sculpture is a continuation of these innovations,” Ferriby says.
Quoted from: www.uindy.edu/arts/caterpillar

The mural project–one of a number of murals under the banner “Color the World with Love”–was created to bring “harmony through geometry,” instilling beauty through art to neighborhoods such as this one on the Near East Side.
The artwork was created with neighborhood and youth group volunteers. Public participation not only offers a fun sense of pride for people working together on an art project, but the finished work becomes a source of peace and unity — a cherished community landmark.
Exploring shapes and patterns, the geometry of hyper-cubes and fractals, the proportioning, balance and their inherent uses as defined by the mysteries of the cosmos, artist Andrew Severns’ style is purely the reflection of his own curiosity. According to Severns, “Art and music are means for scientific discovery, and all truths shall be conveyed through poetry.”

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer, was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As he grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to Desert House and his other sculptures along the Cultural Trail. Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

The design of this mural features mandalas (symbolic diagrams of the cosmos) in a dimensional progression from 1-5, beginning with the 1st dimension and moving on the the 2nd, 3rd, 4th and 5th in order. The design also features ancient symbols called trigrams–markings arranged in three rows, with each marking unique to a specfic universal concept–that correspond and progress with the dimensions.
Dimensions and Trigrams was part of a grassroots experimental program artist Andrew Severns had created with Lisa Boyles to inspire “Harmony through Geometry.” Severns theorized that the innate order of geometrical shapes, arranged in meaningful patterns with logical color schemes, can improve communities’ sense of well-being, beautify neighborhoods, and inspire productive communication.
For more information please go to https://shawndramiller.com/2014/11/04/many-hands/
For artist information, visit https://www.facebook.com/andrewsevernsart and https://twitter.com/SevernsCanon

The mural, which was painted over five wood panels, covered the windows of an unused storefront. Commissioned by the Arts Council and completed in 2006, Ebb and Flow consisted of primarily white, blue and green exterior house paints. The mural features the image of a cloud filled sky and green fields.
This mural was commissioned by the Arts Council of Indianapolis as part of their Picture Windows: Urban Interpretations program. The program allowed artists to create installations or paint murals in vacant or abandonded downtown storefronts. Most projects created for this program were temporary and no longer exist.
Quoted from http://en.wikipedia.org/wiki/Ebb_and_Flow_(mural)

Conceived by artist Mary Miss, FLOW: Can You See the River? is a city-wide public art project that reveals how ordinary activities are connected to the history, ecology, origin and potential of the White River water system. From http://www.imamuseum.org/visit/100acres/artworks-projects/flow See also:
The project appears along a six-mile stretch of the river, with stopping points located on the grounds of the Indianapolis Museum of Art, in The Virginia B. Fairbanks Art & Nature Park: 100 Acres, and along the Central Canal at Butler University and continuing to White River State Park downtown. Mirror markers and oversized red map pins identify important features of the watershed, including wetlands, floodplains, combined sewer outfalls and pollution. In 100 Acres, red tree bands mark the level of what was once referred to as a 100-year flood, or what hydrologists consider a flood that has a 1 percent chance of happening in any year.
FLOW: Can You See the River? was commissioned by the Indianapolis Museum of Art, with concurrent activities facilitated by EcoArts Connections and more than 20 leading Indianapolis arts, science, environment, and municipal organizations and agencies. A series of activities and easily accessible web- and phone-based technologies allow you to experience how water affects your everyday life.
Quoted from: www.imamuseum.org/visit/100acres/artworks-projects/flow

This sculpture was included in the White River State Park’s triennial sculpture rotation. It is part of a series of sculptures by the artist inspired by the famous Forth Bridge, a feat of design and engineering spanning the Firth of Forth near Edinburgh, Scotland. The Forth Bridge is the second-longest single-cantilevered bridge in the world.
Born in Cincinnati, Ohio in 1953, artist Barry Hehemann received a BFA in sculpture from the Herron School of Art, Indiana University-Purdue University at Indianapolis in 1975. After receiving an MFA from the University of Illinois at Urbana-Champaign in 1977, Hehemann co-founded Vector Custom Fabricating in 1978. Vector is an architectural metals and sculpture fabricating company that serves the art and construction communities. Through the use of the facilities, contacts and expertise provided through work in the industry Hehemann continues to pursue his interest in sculpture on a small and large scale, exploring a variety of concepts and materials, including steel, stainless steel, stone, and concrete.

Give and Take, a sculpture by American artist Michael Smith, was located on the campus of Indiana University-Purdue University Indianapolis in downtown Indianapolis, Indiana. It is situated on New York Street in front of the Herron School of Art and Design. The sculpture was made in 2005.
Give and Take is made of stone and is painted yellow. It is on a metal sheet, which is situated on top of an 8-inch concrete platform. The sculpture was placed along New York St. in front of the Herron School of Art and Design in 2005, the same year that Eskenazi Hall, the building housing Herron, was completed. Originally the school was located at 16th St. and Pennsylvania St. in Downtown Indianapolis. The sculpture was removed in 2018 due to conservation issues.
A Museum Studies course at IUPUI recently undertook the project of researching and reporting on the condition of 40 outdoor sculptures on the university campus. Give and Take was included in this movement. This documentation was influenced by the successful Save Outdoor Sculpture! 1989 campaign organized by Heritage Preservation: The National Institute of Conservation partnered with the Smithsonian Institution, specifically the Smithsonian American Art Museum. Throughout the 1990s, over 7,000 volunteers nationwide have cataloged and assessed the condition of over 30,000 publicly accessible statues, monuments, and sculptures installed as outdoor public art across the United States.

This mural along the north-facing wall of the 67th Street floodwall was created by the students of a week-long Graffiti Mural Camp program at the Indianapolis Art Center in the summer of 2016. The Camp was presented in partnership with the Indy Urban Artist Network. The theme of the mural is love, peace and understanding, and the design includes examples of several “street art” styles and painting techniques. Each section was created by a different student, and teaching artists Matt Lawrence and James Quebbeman contributed to the mural to bring unity to the piece and paint the lettering.
Participating students were Olivia Bauwens, Olivia Childress, Meredith DiCamilla, Jacob Keith, Frank Riegner, Sabrina Searcy, Alec Surridge, and Lillian Watness.
The Urban Artist Network was founded in 1999 to address the unique needs of emerging urban artists and arts organizations. Its vision and purpose is to close the gap between urban artists and their communities by offering the tools for artists and communities to reach their goals together. UAN offers various public presentations on the topic of using aerosol art as a commitment to community beautification, and provides insight into the culture of graffiti art.

This mural along the north-facing wall of the 67th Street floodwall was created by the students of a week-long Graffiti Mural Camp program at the Indianapolis Art Center in the summer of 2017. The Camp was presented in partnership with the Indy Urban Artist Network. The theme of the mural is love, peace and understanding, and the design includes examples of several “street art” styles and painting techniques. Each section was created by a different student, and teaching artists Matt Lawrence and James Quebbeman contributed to the mural to bring unity to the piece and paint the lettering.
The Urban Artist Network was founded in 1999 to address the unique needs of emerging urban artists and arts organizations. Its vision and purpose is to close the gap between urban artists and their communities by offering the tools for artists and communities to reach their goals together. UAN offers various public presentations on the topic of using aerosol art as a commitment to community beautification, and provides insight into the culture of graffiti art.

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to Intersection and his other sculptures along the Cultural Trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to Jack’s Column and his other sculptures along the cultural trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

Located on the north-facing wall of the American Tent and Awning Company building, this FAB Crew mural features the “Hoosier Poet” James Whitcomb Riley. Created for the Old Southside Neighborhood Association, the mural was unveiled at a Neighborhood Party in June of 2015. The quote depicted from Riley states, “The ripest peach is highest on the tree.”
The mural’s bold images are representative of the dynamic colors and design that 6Cents and Sacred317 have created over their 17 years together as Fab Crew. Though both are trained in fine art and commercial design, graffiti art remains the driving force behind their creativity.
American Tent and Awning has a history of over 100 years in Indianapolis, and was founded by Charles J. Truemper, a German immigrant, in 1873. Truemper was a personal friend of James Whitcomb Riley, and it is said that Riley would frequently visit Truemper in his office when American Tent and Awning was originally located near the Lockerbie neighborhood.

Landing, by Florida artist Cecilia Lueza, is a kinetic sculpture that points out the concepts of femininity, innocence, and freedom.
The Greater Greenwood Arts Council, in collaboration with the City of Greenwood Parks and Recreation Department, installs public artwork by nationally known artists along Polk Hill Trail to enhance the community’s quality of life and improve economic development. Landing was on view in the 2013-2014 exhibition.
Argentine-born, American-based artist and sculptor, Cecilia Lueza, studied visual arts at the University of La Plata in Buenos Aires, Argentina. Since 2000 she has been working on a variety of public art projects as well as private and public art commissions in many cities throughout the United States. Her work was been exhibited at Art Miami, Arteamericas, and Scope Miami, and she completed has public art pieces in Indianapolis, Fort Lauderdale, Tucson, and Norfolk. Read more about the artist at http://www.lueza.com/ .

MEET & GREET, formerly exhibited in White River State Park, is one of a series of sculptures that artist Leslie (Les) Bruning refers to as “street conservations.” Bruning believes that, in a civil society, we need to talk to each other in an open and friendly way if we are to co-exist peacefully. In this sculpture, the faces come face-to-face with each other as the interactive cranks are manually turned. This artwork demands participation to create the daily activity of facing our fellow citizens, and the turning of the cranks will also trigger a sound track of four short sentences that will be repeated each time the crank restarts. The sentences are: Effort has its rewards. Rewards give us pleasure. Pleasure wins us friends. Friends make life rewarding.
Les Bruning is an accomplished and nationally recognized sculpture artist, specializing in metal casting and welding. Born in Syracuse, KS and raised in Nebraska, Bruning received a BA Degree in Art from Nebraska Wesleyan University in 1970 and earned an MFA Degree in Sculpture from Syracuse University in 1972. He is also a founding member and partner in the Hot Shops Art Center, the owner of Bruning Sculpture, Inc., and a founding member of the Omaha Creative Institute. As an active participant, advocate, and organizer of public art projects, Bruning was a member of the J. Doe Project, created the J. Doe form, was a participant in Chicago’s Navy Pier exhibitions as well as Omaha’s 0! Art Project and several other projects.
For more information, see: http://www.inwhiteriver.com/
For more information on the artist, see: http://bruningsculpture.com/

In 2015, the Metal Fingers Krew from Muncie, IN created this mural during the annual Subsurface Graffiti Expo.
Subsurface is an event that showcases mural and graffiti artists from all over America and beyond. Since 2002, artists have traveled to Indianapolis every Labor Day weekend to create work and build community. Subsurface seeks to advance the art form through beautifying and revitalizing the landscape of urban neighborhoods. Subsurface also seeks to raise social and cultural awareness and promote the arts as an institution of empowerment for all involved.

Don Gummer: Back Home Again is presented by the Central Indiana Community Foundation in honor of the 100th anniversary of The Indianapolis Foundation and in partnership with the Indianapolis Cultural Trail, Inc. This outdoor exhibition is located on the Indianapolis Cultural Trail and it features eight sculptures by Indianapolis-native, New York-based artist Don Gummer.
The artist, Don Gummer was born in Louisville, Kentucky in 1946. When he was seven years old Gummer and his family moved to Indianapolis, Indiana. As Gummer grew up in Indianapolis he attended Ben Davis High School where he demonstrated his artistic talent by winning local awards. Gummer attended Herron School of Art in Indianapolis before moving to Boston, Massachusetts to attend School of the Museum of Fine Arts. From Boston, he went on to Yale University in New Haven, Connecticut, where he completed both his Bachelor of Fine Art and his Masters of Fine Arts.
Gummer prefers that each individual bring their own interpretation to Minuteman and his other sculptures along the Cultural Trail.
Don Gummer: Back Home Again runs from August 31, 2016 to August 7, 2017.

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